“Would you like to interact with the sculpture?” A guard greeted me with this question immediately after I entered the room at the Pérez Art Museum in which Sarah Oppenheimer’s new work S-281913, 2016, is installed. The invitation at first struck me as oddly redundant. All of the artist’s works that I had encountered previously were interactive by default, consisting of razor-sharp transformations of gallery architecture—usually a series of cuts through floors, walls, or ceilings in combination with planes of reflective glass—that collectively effected a complex and continuous reshuffling